Mister Roberts (1955)

This is one of the Best films I have ever seen..I was in the Navy and there was a lot of realism to the movie. Not to mention the wonderful performances by a 1st class Cast.. To put James Cagney, Henry Fonda, Jack Lemmon, Ward Bond, and the great William Powell all in one Movie, you couldn't miss having a Classic Film..A suberb Film and Terrific cast and writing, make this my all time Favorite..

Fmovies: I was back from combat in Europe when I saw "Mr. Roberts" on the stage. The dialogue rang true; it had the flavor of the rough speech of military men. This was lacking in the cleaned-up film version. On the stage, the men of The Reluctant often hinted at scatological tidbits with which all servicemen were familiar, and the audience had a lot of former seamen and soldiers in it, accompanied by their dates. I often heard male laughter, then whispering which was followed by female laughter. One more thing: The scenes with drunken sailors were believable in the stage production - not so in the film. Whoever did the voice coaching for the movie had no idea of how drunks talk. Having said all of this, I must add that I enjoyed the movie. Watching the four master actors - Fonda, Powell, Cagney and Lemmon - was pure delight. Jack Lemmon received an Oscar for his portrayal of Ensign Pulver in the film and Larry Blyden was just as good in the stage part.

I recently saw "Mister Roberts" for the first time in a theater, part of a double-bill with "Twelve Angry Men". The latter is one of my all-time favorite movies, but I've always had reservations about "Mister Roberts", in large part, I think, because I'd always seen it in pan-and-scan on AMC instead of the original CinemaScope perspective of the original. Well, even on a movie screen, I think some of the scenes had to be chopped (or Mervyn LeRoy just liked including William Powell's shoe in a screen-shot, but not the rest of him) but I enjoyed this movie much more in a theater than on a TV screen. For one small example, I'd never noticed the detail of the warships passing by during the opening credits before.

The story of "Mister Roberts" is a bit melodramatic for my taste -- after all, it started out on Broadway -- but it doesn't matter because you have five huge headliners to carry it, all at different stages of their careers -- William Powell in his last feature film; James Cagney, James Fonda, and Ward Bond in their mid-career phases (though Bond would be cut down too young in 1960); and Jack Lemmon in practically his first movie. There is an outstanding photo of these five actors singing together accompanied by Cagney's guitar in the photo gallery. Anyway, Mister Roberts is a college-grad who felt a duty to be involved in WWII, but who had the bad luck to be assigned to a cargo ship that is never involved in combat duty. What's worse, the commanding officer is a petty Merchant Marine who got in the Navy because they needed anyone they could get, and he resents Mister Roberts and anyone else who he thinks looks down on him. Roberts shares a room with Ensign Pulver, not exactly a coward but someone who'd be happy to go through the entire war without meeting his Captain. The ship's surgeon is played by William Powell with the same wit and facile mastery that he brought to the "The Thin Man" series decades earlier; but you can tell he's not Nick Charles because of his gray hair. Finally, the great Ward Bond is the top noncom in the cargo hold.

The movie depends on a lot of stereotypes that feel like crutches to me -- sailors ogling women, sailors getting drunk, sailors going nuts on liberty, etc. The high points of the action involve the interaction of the headliners, or their solo moments. Jack Lemmon's outstanding (and Oscar-winning) performance established him as an up and coming star, and presaged his great work in "The Apartment", "Some Like it Hot", "The Days of Wine and Roses", and the other masterpieces of his "Early" period. The final scene is one of the best in Lemmon's career.

I strongly recommend you find a way to see "Mister Roberts" in widescreen format. This is a movie, like "Lawrence of Arabia" or "Anastasia", that is just ruined when presented full-screen.

Mister Roberts fmovies. Through the collaborative efforts of John Ford, Mervyn LeRoy, Joshua Logan and Henry Fonda the film version of Mister Roberts finally got made. As in Spartacus a lot of creative differences were aired and there was animosity, but the thing got made and got made well.

The film Mister Roberts is the screen adaption of a play that ran on Broadway from 1948 to 1951 for 1157 performances. It was based on the novel written by Thomas Heggen and was directed by Joshua Logan. It marked a return to the stage for Henry Fonda who for the rest of his life shuttled back and forth between Broadway and Hollywood. Mister Roberts became his career signature part.

According to the book In the Company of Heroes by Harry Carey, Jr., Henry Fonda because this was his signature part, the part that won him a Tony Award on Broadway, he had a certain proprietary interest in seeing a faithful adaption was done for the screen.

John Ford however wanted to put his own individual stamp on the picture as he always does. Fonda and Ford had done six films together before 1948 and Fonda was a willing pupil. But after the acclaim he got for this play Fonda was no longer willing to respond to Ford's direction dutifully. This led to an ugly clash on set and Ford leaving the picture. The direction was taken over by Mervyn LeRoy officially, but Joshua Logan came over from Broadway and in the background Henry Fonda himself directed some of it.

There are certainly enough Ford touches to recognize the film as a Ford product. But Fonda kept the essence of Doug Roberts as the average man doing a disagreeable task, serving as a buffer between the crew and the tyrannical captain. He makes life somewhat bearable for the crew of the cargo ship he's the executive officer. And like James Stewart in It's A Wonderful Life, Fonda also has to be shown just how important his contribution to the morale of that ship is.

And what a boss they have. The role of the Captain is a very difficult part. Though there are certainly elements of comedy with the captain, James Cagney never allows the captain to become a figure of burlesque. It's a very difficult tightrope to walk, but Mr. Cagney brought over 30 years of professionalism to that part. During the scene of the cabin confrontation with Fonda, Cagney does go into his background, going to sea as a kid, doing a lot of menial jobs and rising through his own efforts in the Merchant Marine. We get to understand Cagney, but we never sympathize with him.

Even though Mister Roberts is a military setting, the themes are universal and that is why I think it got the popular acclaim it did. I think most of us in our lives as workers have occasionally had to work in settings where the boss was a tin pot dictator, using and abusing his position of authority. And maybe we've also had immediate supervisors who did buffer between the employer and the workers. I'm sure that applied to just about anyone who ever had any kind of work history.

What allows Cagney to become the little martinet that he's become is the fact that the cargo ship is in the backwater of the war. You do kind of wonder what might happen if the ship was ever a target of some Japanese submarines or airplanes. He and the man are bored, but he's in the position of authority. Mister Roberts is the only film I know that ever made boredom a component of a successful production.

William Powell who was a player for over 40 years on stage and screen put a cap to his career as Doc, the ship's med

Mister Roberts (1955) - CO-Directors: John Ford & Mervyn LeRoy Enough time had passed that Americans were able to laugh at some of the kookier aspects about military life and Hollywood provided just the right amount of seriousness and irreverence with this 1955 hit.

Henry Fonda gave one of his career making performances in this film as a lieutenant in the Navy who feels that the action of the war is passing him by. Instead of fighting the enemy, he's engaged in a battle of wills with off kilter superior officer James Cagney, who also turns in one of his mythic-making performances. The great William Powell is on board in one of his last roles as the friendly on board doctor. The late Jack Lemmon won an Academy Award for his supporting role of Ensign Pulver, a man who finally straightens his spine and takes macho Cagney on mano-a-mano. (Color)

Somewhere between tedium and apathy the U.S.S. Reluctant sails to this day with it's crew of U.S. navy swabs who have to deliver cargoes of supplies to our men fighting the enemy (Japan) in World War II. The war is long over, but the spirit of men rotting under a vicious squirt of a Captain, with only an intelligent cargo officer (Lt. Doug Roberts) protecting them, remains an image that people retain sixty years after Japan surrendered.

In another review, I mentioned that (ironically) the American naval mutiny everyone recalls is that on board the U.S.S.Caine in the Herman Wouk novel and the film made as a result. That like "Mr. Roberts" was fictional, but the two stories have taken on a life of their own. The stories transcended the events that were the backgrounds for them. Oddly enough, both stories eventually center upon the events of the closing part of the Pacific War: THE CAINE MUTINY going up to the typhoon before the battle of Okinawa in January 1945 (Roberts sees part of the fleet headed for Okinawa early in MR. ROBERTS), and Roberts getting transferred to the battle zone where he dies after Germany's surrender in May 1945.

Despite problems between John Ford and star Henry Fonda, that led to Ford's removal as director, the film actually is one of those movies where several hands were involved and the results were good (like GONE WITH THE WIND). Fonda had been in the Broadway production and worked on it with Leland Heyward and Joshua Logan, so he knew precisely what was necessary for the film. Ford, before he was fired, set up the film perfectly - he was an old "navy" man himself, so he brought a sense of reality to the project that (mercifully) was not damaged.

One thing that Ford did which was worthwhile was casting Jack Lemmon (then at the start of his film career) as Ensign Frank Thurlow Pulver, would-be sex object and would-be pain-in-the-ass to the Captain. Lemmon had somehow caught Ford's eye, and had actually done a test for a current project that Ford was planning, THE LONG GREY LINE. Lemmon told an interviewer on AMC years ago that Ford gave him the test for the role that went to Tyrone Power, and Lemmon was delivering a speech as an old Irish-American man, complete with a brogue. Ford later told Lemmon he was dreadful for the role in THE LONG GREY LINE, but he wanted him for Pulver. It was a great opportunity, as it netted Lemmon the first of his two Oscars (here for best supporting actor). He would have some great moments here, singing "If I can be with you" several times in the film, watching Fonda and William Powell turn a bottle of Coca Cola into Scotch, explaining to an amazed Jimmy Cagney that he has been the laundry officer on the boat for over a year but has managed never to see Cagney, causing a massive explosion in the ship's laundry on May 8, 1945, and finally pulling his guts together and taking up where Fonda left off as the movie ends.

Fonda, Cagney, Powell, and Ward Bond were all old hands in film. For William Powell, "Doc" would be his last movie role - but a good one as it showed his humanity and wryness so well. Towards the end, he shows Ward Bond that his wife selected a new wall paper for home, and sent him a sample (I keep imagining the wife, of course, is Myrna Loy, but that is besides the point). Cagney had a number of films left in the next five years (and two follow movies in the 1980s), and Fonda would have movies and stage work (and a final Oscar for his last film, ON GOLDEN POND) in 1982. But